A visit to his friend in the morning at 6:30 a.m. has also been considered as another evidence supporting that Waltz with Bashir is a mockumentary. The dialogue between them sounds like a chatty chatting, but is actually, with certainty, scripted. Their tones sound heavy and serious, not like the ones in the morning, especially en early morning like 6:30. His friend's mentioning about the psychological experiment about fabricating dreamy and fantastic memories along with human's mechanism preventing us from entering the dark part of memory appears to confirm the truth that the dialogue is highly scripted, which is contrary to the way "documentary" do. .
However, can we or is that possible for us to classify Waltz with Bashir as a "mockumentary" rather than a "documentary" based on the above analyses. The answer is "NO". On the contrary, these analyses to some extent are also evidences support that Waltz with Bashir is a "documentary". The dreaming about seeing of people's fleeing is, on the other side, the indicator of protagonist's, who is also the filmmaker, not forgetting about the war memories, which could still be deeply repressed. Like the make Ari Folman said by himself, "War is so surreal, and memory is so tricky that I thought I had better take the journey with the help of very fine illustrators"("INTERVIEW WITH ARI FOLMAN." Waltz With Bashir Pressbook)2, those war memories are too terrible and its vagaries are truly too real for the maker, the same as the experiencer, to directly face, even if with the help of families, friends, and therapists. The melancholy, sorrowful and heavy accordatura of the Background Music also says the darkness of war. The using of Animation and the Yellowing camera could hereby drive the position of war into a dreamlike distance, but keep the atrocity of war close and real. The insertion of fictionalization is another way of revealing the theme.
